“The Citizen Kane of the digital era. . .”

That’s not me talking. That’s what the great editor (great friend) Dov Hoenig said about  Birdman the other day, as his wife Zoe and I were trying to shorten the distance between London and Seattle over the phone.

Michael Keaton in ‘Birdman’

My enthusiasms you can take with a giant grain of salt. Dov’s you should take very very seriously. The secret in the IMDb listing of his 40+ films, abroad and crucially with Michael Mann, is that it spans movies shot on film (Thief, Manhunter, Last of the Mohicans) and digitally (Heat, Collateral Damage) and he knows the virtues and frailties of both. Never heard Dov — impassioned but also measured and serious — be this swept away before and this seems the time to share his fervor.

What particularly revved me up was seeing Birdman a second time last week. I’d forgotten just what a deckle-edge comedy it is, with all its soulfulness. I think it’s a reflection of my inner Olive Kitteridge that I’ve held fast (for 3 months!) to not just popping in the screener so that my husband could see what I’ve been hyperventilating about, but insisting on a dark quiet theatre, so he could see it as it should be seen, in its full wonder. Worked, too; he has come back to moments from it, again and again.

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